This review written by Mick for The Hollywood Reporter provides a comprehensive analysis of "Fury Road" from the perspective of commercial popcorn for a visual feast, and gives it the highest praise, which is really incredible. Pen × fun × Pavilion www. ｂｉｑｕｇｅ。 infoAfter the end of the 78th Oscars, changes that are invisible to laymen are quietly infiltrating all aspects of Hollywood, and the "Hollywood Reporter" may be just the beginning.

At the end of Mick's film review, Quentin is specifically mentioned.

Subsequently, reporters also interviewed the arrogant and uninhibited ghost director for the first time, and he made it clear, "In fact, I am not optimistic about this work, and I have no disrespect to Lance, but without Harrison Ford's 'Mad Max', it can't be called 'Mad Max', and I have always been sure that this work is a disaster." But, I was wrong. Quentin admitted his mistake without any obstacles, "This is a wonderful movie!" Lance is a genius, a true genius! The whole movie is full of whimsy and simply can't be imagined! Jesus Christ, only a madman can make this work, I have no idea how the film is made, and I even began to wonder if I never really learned how to make a movie. ”

At the end of the interview, Quentin repeatedly emphasized, "I'll walk into the cinema again, three times, no, five times, five times!" I need to appreciate this work well, slowly, carefully. Lance, you're crazy, you're such a lunatic! ”

Quentin's praise is so impressive that he feels like a big fan, which coincides with Mick's comment that Mick gave "Fury Road" a 100 out of 100, a perfect 100! This is not only the first perfect score given to Lance's work by the West Bund media, but also the first score announced after the premiere of "Fury Road", announcing the shining debut of "Fury Road" in a shocking and unbelievable attitude.

Who would have thought that "Fury Road" once again ushered in full praise for Lance; Who would have thought that this praise would be the first to appear in the West Bank media.

For the audience, after the premiere of "Fury Road" ended, the boiling news was overwhelming.

Vanity Fair confirmed that the cars were actually used during the filming, and that the amazing special effects in the movie were all filmed on location, and that the cars will be exhibited in the Farmer's Market Square for ten days. Then it was reported that the shocking lineup of guests at the premiere was reported, which was almost as star-studded as Oscar night, which really exceeded everyone's expectations, and "Fury Road" seemed to have officially entered the era of national popularity; This was followed by a ten-minute standing ovation at the end of the premiere, accompanied by four encore applause, and the crowd at the premiere became the highlight of the night......

Wave after wave of hot news, showing two completely different attitudes from the general decline before the release of the movie, almost overnight detonated the heat of "Fury Road" that had been brewing for half a year, and the momentum even faintly overwhelmed the previous two weeks of "Superman Returns" and "Pirates of the Caribbean 2", showing an unbelievable topic effect.

But few people noticed that the first film reviews after the premiere were not released for a long time, and "The Hollywood Reporter" was the first detailed film review to appear, but by this time more than 12 hours had passed since the premiere, which was really staggering, not to mention that the film reviews of other mainstream professional media were still nowhere to be seen, and it seemed that every film critic was carefully considering his own words. This is all too rare.

Halfway through July 13, it wasn't until early afternoon that Roger Ebert's film review was belated, and it was only the fourth review of the first batch of film reviews. Such a "low" efficiency of attention is in stark contrast to the media fryer and the excitement of the audience, is it because critics have no interest in the film, or has the film's reputation fallen to the bottom? So what about the 100 points scored by the "Hollywood reporter" Mick?

What's even more interesting is that this detailed film review published on Roger's personal official website also gives 100 points! 100 out of 100! Incredible, really incredible, it seems that all the contradictions cannot find a clear answer, which also arouses more curiosity and attention.

"Needless to say, 'Fury Road' is a rare masterpiece that is worthy of becoming a classic."

Roger's first sentence of the film review is intertwined with a 100-point evaluation, clearly and firmly stating his position, but surprisingly, Roger actually uses the word "classic", not all works can be called classics.

"'Fury Road' is a seemingly simple and crude work, and the synopsis can be summed up in one sentence: in the apocalyptic backdrop of the wasteland, a woman leads her friends on the run, and in desperation, decides to overthrow the rule and take over the survivor base. The whole movie is full of the most primitive car chase scenes, the purest fighting content, and there is no superfluous burden, which brings the characteristics of summer popcorn to the extreme, and creates a magnificent masterpiece that detonates vision, stimulates hearing, and shocks the sense of touch.

But Strello's work is never so simple.

In the crime trilogy, he profoundly analyzes and discusses the relationship between evil crimes, the judicial system, moral justice, social indifference and other important issues, and finally creates the darkness of Sin City, countering violence with violence, an eye for an eye, and even crime begins to rationalize, and the last ray of light is completely extinguished and drawn. In a way, 'Fury Road' can be seen as a continuation of this thinking.

After the creation of the 'Sin City', the end of the wasteland came, and the whole world fell, and society slipped further into the dark abyss of sin. In this context, the line between evil and justice disappears completely, and in the end of the world, survival becomes the only goal, moral decay, law abolition, crime, loss of faith, and no means are compromised, and in order to continue to exist, all the rules and constraints of civilized society no longer have any meaning, so that human beings become tools, men are instruments of war, and women are instruments of procreation; Human rights are in ruins, freedom is gone, hope is gone, and even faith is almost distorted.

When morality loses its binding force, justice and sin are no longer opposites; When faith begins to crumble, hopes, freedoms, and dreams become slaves to survival/desire/hope. Then, the distinction between humans and zombies will disappear.

This is the background of the story of 'Fury Road', where Strello sketches a magnificent worldview in just a few words, inheriting the worldview of the huge ideas of the crime trilogy, and truly constructing a dark world for the audience that is iron-blooded and cruel. This pen power far surpasses that of "Star Wars" and "Blade Runner", and is comparable to epic masterpieces such as "2001: A Space Odyssey" and "Metropolis".

With such a majestic story background, but only an extremely weak story line, it seems that the movie will be destined to be a tragedy. However, 'Fury Road' did not.

Strello's strength lies in the fact that he is a brilliant screenwriter, a great screenwriter on a par with Billy Wilder, who breathes life into the characters, and then presents the vast world, the grandeur of ideas, and the deep reflection through the performances of the actors. The concise and neat main line binds a group of characters together, creating a high/tide movie-watching feast, and creating a far-reaching ideological dimension.

This skill is not the first time Strello has shown, but it will not be the last.

In 'Fury Road', Strello once again showed his usual anti-heroism, choosing three unique and distinctive characters to interpret the whole story, rebellious and unique techniques, delicate and profound descriptions, sharp and clear views, creating the most unique screen image since Indiana Jones.

Max, the Max in 'Mad Max', is a well-deserved absolute actor in the movie, but to everyone's surprise, Strello cut Max's role a lot, and even gave up the plot of showing his lonely hero, and instead brought the audience the toughest and most tender scenery in the whole movie with an embarrassed and ruthless pen.

Throughout the movie, Max has almost no superfluous expressions, and there are not too many lines, and many dialogues are completed in simple and clear syllables, and the kind of tough guy style that is restrained to the extreme comes to the face. Ruthless, unscrupulous, hard-fisted, insensitive, and lack of faith, this is all the audience's impression of Max, unlike traditional heroes, Max refuses to meddle in things, refuses to do justice, and even has blood on his hands, all in order to survive, he can not hesitate to snatch the car of his life-saver and run for his life without any psychological burden, he can also simply kill all the blockers and move forward bravely - he doesn't even have a chance to be handsome, he becomes a prisoner on the stage, and then becomes a blood bag, the nest is more like a clown.

Max's body can be said to have gathered all the elements of anti-heroes.

But it is precisely such a character that carries the deepest and most moving theme of the entire film of 'Fury Road', even more shocking than the strength of the feminist spirit that runs throughout. It can be said that Max placed Lance's hopes and expectations on society, and this weight weighed heavily on Max's scarred shoulders - an answer that had not been given in the previous crime trilogy, and Strello finally revealed a thin light through the role of Max!

This has become the decisive factor in casting a classic! (To be continued.) )